Kiss Me, Kate is more than fifty years old. Based on the revival
currently playing at the Shubert, it has not aged gracefully. The problem is certainly not the Cole Porter score, which is virtually
overflowing with classics. From the two backstage act-openers, "Another
Op'nin' Another Show" and "Too Darn Hot," to the lovely ballads, "So In
Love" and "Were Thine That Special Face," to the adorably comic, "I Hate
Men" and "Brush Up Your Shakespeare," this score just won't quit. On
paper, the idea of reviving Kiss Me, Kate is an exciting
proposition, giving us a chance to hear these, and many other, classic
Broadway songs delivered by a new generation of theatre performers.

In reality, the book, by Sam and Bella Spewack, proves to be the
hindrance. The plot begins simply. Fred Graham, an egotistical
actor/producer/director casts his ex-wife, actress Lilli Vanessi, opposite
himself in a musical version of Taming of the Shrew. Lilli, we
learn, is still in love with Fred, despite their bickering; and when she
receives pre-opening night flowers from Fred, she allows herself to
believe they may reunite. However, during the performance, Lilli
discovers Fred's flowers were meant for someone else. This revelation
ignites her portrayal of Kate, and when Kate strikes out at Fred's
Petruchio in anger, Lilli pulls no punches.

Fred responds by hitting
back, and the curtain falls on the first act of their Shrew with
Petruchio taking Kate over his knee, lifting her skirt, and spanking
her. This isn't necessarily objectionable as some level of spousal-abuse. It
is obviously intended to be comical, and more hurtful to Lilli's pride
than her person. What makes it troubling is that, from the perspective of
the audience, Fred is in no position to retaliate against Lilli because
her onstage outbursts are completely justified. Fred had allowed Lilli to
believe he had sent her flowers; he can't be surprised that she's angry
when she discovers she was not the intended recipient. Similarly, when
Fred finds himself mistakenly targeted by two mafia goons, he sicks them
on Lilli in order to prevent her from storming out of the theatre at
intermission. The upshot of all this is that Lilli is entirely
sympathetic; while Fred toys with her emotions, beats her, and keeps her
in the theatre by force, all in an attempt to save his precious opening
night.

As Kiss Me, Kate continues toward its apparently
predestined "boy gets girl back" ending, there is nothing that can be done
to remedy this inequality and rehabilitate Fred into someone actually
deserving of Lilli's affections. There are brief attempts made in this
direction -- Lilli is engaged to be married to another man who is, by all
accounts, a worse match than Fred (or Petruchio); and Fred, in the middle
of the second act, finally admits to himself that he is still in love with
Lilli. But it is too little too late. There is no reason Lilli should
end up with Fred after the way he has treated her. The fact that Kiss
Me, Kate ends somewhat ambiguously, without a definite indication that
Fred and Lilli will remarry, is probably the best that can be hoped for.
But even that is unsatisfactory, in that it deprives the audience of a
final resolution of the main plot, and, presumably, another Porter love
song.

This could all be forgiven if the fabulous score were well-sung. Rachel
York, as Lilli, holds up her end. She lets her big pop voice loose on "So
In Love," and finds a terrific comic belt for Kate's anthem to singlehood,
"I Hate Men." Rex Smith, as Fred, is less successful. It isn't entirely
his fault; the music cries out for a rich baritone, while Smith is light
tenor. He therefore misses the opportunity to melt hearts with "Were
Thine That Special Face," and instead gives it a faster pace and comic
delivery which are much better suited to his second-act complaint, "Where
Is the Life That Late I Led?" The rest of the cast is equally uneven.
Among the best was Nancy Anderson, who gave her last performance prior to
leaving for the London production. She had the dim floozy Lois Lane down
pat, and her conditional love song, "Always True to You (In My Fashion)"
perfectly walked the line between saint and sinner. Also hitting the mark
are Richard Poe and Michael Arkin as the Bard-quoting mafiosi, who
order the audience to "Brush Up Your Shakespeare" as if giving
directions to the customers at a bank heist.

There isn't as much dance in this production as there should be. "Another
Op'nin' Another Show" demands to break free in an all-out dance number,
but it remains largely confined in the choreography of backstage
preparation. Other numbers depend more on acrobatics than dance; and
although the feats are impressive, the de-emphasis of dance is clearly
felt.

There may be a good revival left in Kiss Me, Kate, but with the
show's dated book, it has to be one that devotes all of its attention to
singing the roof off the building and dancing the audience out of their
seats. For the most part, the roof is remaining on the Shubert and few
toes are tapping.